BEYOND the BASICS Supplemental Programming for Leonard Bernstein at 100
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Concert 1 September 29, 2018 Three Dance Episodes from on the Town
Concert 1 September 29, 2018 Three Dance Episodes from On the Town—Leonard Bernstein Almost three decades after Leonard Bernstein’s death, the critics are still arguing over the meaning and impact of his legacy. What is clear, however, is that the world rarely enjoys the genius of someone who excels supremely in so many artistic endeavors. Pianist, conductor, television personality, teacher, mentor, social gadfly, and composer of both popular musical theatre and “serious works,” Bernstein wore all hats with avidity. And he enjoyed stunning success in most. He had a passion about everything that he essayed, whether conducting the Mahler that he loved so well, or in his many teaching roles, helping audiences “peel” apart the mysteries of music. He knew so much, and could do so much, that he genuinely thought that he could do it all. His leadership of the New York Philharmonic Orchestra and other orchestras is legendary, but everyone knows there were some concerts that, frankly, got away from him in his self-indulgence exhuberance. He worked assiduously as a composer of “serious” music, but those works—from youthful successes to his late efforts--have enjoyed only mixed success. All that says is simply that he was human. Other than his epochal conducting, there is one field in which he garnered almost universal acclaim, and that is musical theatre. When all is said and done, he possessed a talent and a facility for the stage that was as deep as it was prolific. He understood the genre and its demands well. He plunged in early, writing for student productions at Harvard, and working with a cabaret group (that included Judy Holiday) while a student at the Curtis Institute. -
Bernstein's Trouble in Tahiti By
Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti By: Elizabeth L. Keathley Keathley, Elizabeth. “Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti,” American Music, Vol. 23 No. 2 (Summer 2005): 220-257. Made available courtesy of University of Illinois Press: http://www.jstor.org/stable/4153033 ***© University of Illinois Press. Reprinted with permission. No further reproduction is authorized without written permission from University of Illinois Press. This version of the document is not the version of record. Figures and/or pictures may be missing from this format of the document. *** Abstract: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against the backdrop of repression that marked the years following World War II: in an era in which a group as mainstream as the League of Women Voters was denounced as a "communist front organization," Trouble in Tahiti's criticisms risked reprisals.[1] Keywords: Musicals | Leonard Bernstein | Trouble in Tahiti | Gender | Feminism | Post World War II era Article: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against -
8.112023-24 Bk Menotti Amelia EU 26-03-2010 9:41 Pagina 16
8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 16 Gian Carlo MENOTTI Also available The Consul • Amelia al ballo LO M CAR EN N OT IA T G I 8.669019 19 gs 50 din - 1954 Recor Patricia Neway • Marie Powers • Cornell MacNeil 8.669140-41 Orchestra • Lehman Engel Margherita Carosio • Rolando Panerai • Giacinto Prandelli Chorus and Orchestra of La Scala, Milan • Nino Sanzogno 8.112023-24 16 8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 2 MENOTTI CENTENARY EDITION Producer’s Note This CD set is the first in a series devoted to the compositions, operatic and otherwise, of Gian Carlo Menotti on Gian Carlo the occasion of his centenary in 2011. The recordings in this series date from the mid-1940s through the late 1950s, and will feature several which have never before appeared on CD, as well as some that have not been available in MENOTTI any form in nearly half a century. The present recording of The Consul, which makes its CD début here, was made a month after the work’s (1911– 2007) Philadelphia première. American Decca was at the time primarily a “pop” label, the home of Bing Crosby and Judy Garland, and did not yet have much experience in the area of Classical music. Indeed, this recording seems to have been done more because of the work’s critical acclaim on the Broadway stage than as an opera, since Decca had The Consul also recorded Arthur Miller’s Death of a Salesman with members of the original cast around the same time. -
31 Days of Oscar® 2010 Schedule
31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy -
Jerold Frederic Presents Concert of Gripping Music Philharmonic
THE% ECHO VOL. XXV TAYLOR UNIVERSITY, UPLAND, INDIANA, SATURDAY. FEBRUARY 5, 1938 NO. 9 Judge Fred Bale Jerold Frederic Mystery Abounds Philharmonic Orchestra Coming Discusses Vital Presents Concert When Dramatists Issues at T. U. Of Gripping Music Thrill Audience All Taylor music lovers were A phantom tiger, a death light, thrilled at the masterful playing a haunted house, a terrific storm of Jehold Frederic as he was pre — an ideal setting for a mystery! sented by the Lyceum Committee, In Spiers Hall on January 29th Tuesday evening, January 18th, one of the hit programs of the in Shreiner Auditorium. year was the presentation of His graduation from the "Tiger House", Robert St. Clair's thundering londs to the soft, popular three act. novel comedy. sweet passages, his brilliant tech In the minds of the audience nique, excellent tone quality and which crowded the little audi keen sense of rhythm held the torium to its capacity, the play audience enthralled during the | ranks high among Taylor's Magic of Murdock G. H. Shapiro and entire program. His powerful, literary productions. No one was His Orchestra to yet gentle fingers brought forth disappointed in the thrilling en Provides Thrills his notable creative ability in his tertainment. Appear at Taylor interpretation of Chopin. His Weird fantastical sounds, For Large Group presentation of Liszt himself, tricky movable panels, cruel On February 19, the Lyceum rather than his music, it was as | clutching claws! Was it any Even the "front" seats of Committee is presenting the next if his listeners were for the time wonder onlookers sat on the Shreiner Auditorium were oc in the series of programs. -
National Museum of American Jewish History, Leonard Bernstein
Narrative Section of a Successful Application The attached document contains the grant narrative and selected portions of a previously funded grant application. It is not intended to serve as a model, but to give you a sense of how a successful application may be crafted. Every successful application is different, and each applicant is urged to prepare a proposal that reflects its unique project and aspirations. Prospective applicants should consult the Research Programs application guidelines at https://www.neh.gov/grants/public/public-humanities- projects for instructions. Applicants are also strongly encouraged to consult with the NEH Division of Research Programs staff well before a grant deadline. Note: The attachment only contains the grant narrative and selected portions, not the entire funded application. In addition, certain portions may have been redacted to protect the privacy interests of an individual and/or to protect confidential commercial and financial information and/or to protect copyrighted materials. Project Title: Leonard Bernstein: The Power of Music Institution: National Museum of American Jewish History Project Director: Ivy Weingram Grant Program: America's Historical and Cultural Organizations: Planning Grants 1100 Pennsylvania Ave., N.W., Rm. 426, Washington, D.C. 20506 P 202.606.8269 F 202.606.8557 E [email protected] www.neh.gov THE NATURE OF THE REQUEST The National Museum of American Jewish History (NMAJH) respectfully requests a planning grant of $50,000 from the National Endowment for the Humanities to support the development of the special exhibition Leonard Bernstein: The Power of Music (working title), opening in March 2018 to celebrate the centennial year of Bernstein’s birth. -
Classics 3: Program Notes Overture to Candide Leonard Bernstein Born in Lawrence, Massachusetts, August 25, 1918
Classics 3: Program Notes Overture to Candide Leonard Bernstein Born in Lawrence, Massachusetts, August 25, 1918; died in New York, October 14, 1990 After collaborating on The Lark, a play with incidental music about Joan of Arc, Leonard Bernstein and Lillian Hellman turned their attention in 1954 to Voltaire’s novella Candide. They thought it the perfect vehicle to make an artistic statement against political intolerance in American society, just as Voltaire had done in eighteenth-century France. After bringing in poet Richard Wilbur to write the lyrics, they worked intermittently on Candide for two years. Enormous amounts of money were spent on the production, which opened in Boston on October 29, 1956. Though many critics called it brilliant, the production failed financially; after moving to New York in December, it was shut down after just seventy-three performances. Everyone had someone to blame, but many thought it failed because of audience confusion about its hybrid nature—was it an opera, operetta, or a musical? Leonard Bernstein: celebrating his The story revolves around the illegitimate Candide, who centennial loves and is loved in return by Cunegonde, daughter of nobility. They are plagued by myriad disasters, which lead them from Westphalia to Lisbon, Paris, Cadiz, Buenos Aires, Eldorado, Surinam, and finally Venice, where they are united at last. Bernstein’s often witty, sometimes tender music has been considered the work’s greatest asset, both in the initial failed production and in later successful versions. The Overture, possibly Bernstein’s most frequently performed piece, perfectly captures the mockery and satire as well as the occasional introspective moment of Voltaire’s masterful creation. -
Articles Blog Posts
More Than Words: Designs, Dance, and Graphic Notation in the Performing Arts Society of American Archivists, August 2021 / Virtual Tour Library of Congress, Music Division Resources Articles Library of Congress Magazine Brilliant Broadway: Volume 7, No. 3, May-June 2018: Christopher Hartten, “Brilliant by Design” Library of Congress Magazine - May/June 2018 (loc.gov) Blog Posts: In the Muse Albro, Sylvia. Undated. “Conservation Treatment of Seven Engraved Music Motets.” https://www.loc.gov/preservation/conservators/musicmotets/index.html Baumgart, Emily. May 29, 2021. “Cicada Terrible Freedom.” http://blogs.loc.gov/music/2021/05/cicada-terrible-freedom/ ______. March 11, 2021. "A New LGBTQ+ Resource from the Library of Congress Music Division" https://blogs.loc.gov/music/2021/03/a-new-lgbtq-resource-from-the-library-of-congress-music- division Doyle, Kaitlin (Kate). July 9, 2016. “Discovering the Music Within Our Dance Collections: Composer Lucia Dlugoszewski and the Erick Hawkins Dance Company.” http://blogs.loc.gov/music/2016/09/discovering-the-music-within-our-dance-collections- composer-lucia-dlugoszewski-and-the-erick-hawkins-dance-company/ Hartten, Chris. September 6, 2011. “The Bad Boy of Music.” https://blogs.loc.gov/music/2011/09/the-bad-boy-of-music/ ______. February 19, 2015. “Chameleon as Composer: The Colorful Life and Works of Lukas Foss.” http://blogs.loc.gov/music/2015/02/8620/ ______. April 27, 2011. “Good as Gould.” https://blogs.loc.gov/music/2011/04/good-as-gould/ Padua, Pat. July 25, 2012. “Clark Lights Up the Library.” http://blogs.loc.gov/music/2012/07/clark- lights-up-the-library/ Smigel, Libby. -
Beloved Holiday Movie: How the Grinch Stole Christmas! 12/9
RIVERCREST PREPARATORY ONLINE SCHOOL S P E C I A L I T E M S O F The River Current INTEREST VOLUME 1, ISSUE 3 DECEMBER 16, 2014 We had our picture day on Beloved Holiday Movie: How the Grinch Stole Christmas! 12/9. If you missed it, there will be another opportunity in the spring. Boris Karloff, the voice of the narrator and the Grinch in the Reserve your cartoon, was a famous actor yearbook. known for his roles in horror films. In fact, the image most of us hold in our minds of Franken- stein’s monster is actually Boris Karloff in full make up. Boris Karloff Jan. 12th – Who doesn’t love the Grinch Winter Break is Is the reason the Grinch is so despite his grinchy ways? The Dec. 19th popular because the characters animated classic, first shown in are lovable? We can’t help but 1966, has remained popular with All class work must adore Max, the unwilling helper of children and adults. be completed by the Grinch. Little Cindy Lou Who The story, written by Dr. Seuss, the 18th! is so sweet when she questions was published in 1957. At that the Grinch’s actions. But when the I N S I D E time, it was also published in Grinch’s heart grows three sizes, THIS ISSUE: Redbook magazine. It proved so Each shoe weighed 11 pounds we cheer in our own hearts and popular that a famous producer, and the make up took hours to sing right along with the Whos Sports 2 Chuck Jones, decided to make get just right. -
Speaker Materials
Speaker Materials Partnering organizations: The Akdamut – an Aramaic preface to our Torah Reading Rabbi Gesa S. Ederberg ([email protected]) ַאְקָדּמוּת ִמִלּין ְוָשָׁריוּת שׁוָּת א Before reciting the Ten Commandments, ַאְוָלא ָשֵׁקְלָא ַהְרָמןְוּרשׁוָּת א I first ask permission and approval ְבָּבֵבי ְתֵּרי וְּתַלת ְדֶאְפַתְּח בּ ַ ְקשׁוָּת א To start with two or three stanzas in fear ְבָּבֵרְי דָבֵרי ְוָטֵרי ֲעֵדי ְלַקִשּׁישׁוָּת א Of God who creates and ever sustains. ְגּבָוּרן ָעְלִמין ֵלהּ ְוָלא ְסֵפק ְפִּרישׁוָּת א He has endless might, not to be described ְגִּויל ִאְלּוּ רִקיֵעי ְק ֵ ָי כּל חְוּרָשָׁת א Were the skies parchment, were all the reeds quills, ְדּיוֹ ִאלּוּ ַיֵמּי ְוָכל ֵמיְכִישׁוָּת א Were the seas and all waters made of ink, ָדְּיֵרי ַאְרָעא ָסְפֵרי ְוָרְשֵׁמַי רְשָׁוָת א Were all the world’s inhabitants made scribes. Akdamut – R. Gesa Ederberg Tikkun Shavuot Page 1 of 7 From Shabbat Shacharit: ִאלּוּ פִ יוּ מָ לֵא ִשׁיָרה ַכָּיּ ם. וּלְשׁו ֵוּ ִרָנּה כַּהֲמון גַּלָּיו. ְושְפתוֵתיוּ ֶשַׁבח ְכֶּמְרֲחֵבי ָ רִקיַע . וְעֵיֵיוּ ְמִאירות ַכֶּשֶּׁמ שׁ ְוַכָיֵּרַח . וְ יָדֵ יוּ פְ רוּשות כְּ ִ ְשֵׁרי ָשָׁמִי ם. ְוַרְגֵליוּ ַקלּות ָכַּאָיּלות. ֵאין אֲ ַ ְחוּ ַמְסִפּיִקי ם לְהודות לְ ה' אֱ להֵ יוּ וֵאלהֵ י ֲאבוֵתיוּ. וְּלָבֵר ֶאת ְשֶׁמ עַל ַאַחת ֵמֶאֶלף ַאְלֵפי אֲלָ ִפי ם ְוִרֵבּי ְרָבבות ְפָּעִמי ם Were our mouths filled with song as the sea, our tongues to sing endlessly like countless waves, our lips to offer limitless praise like the sky…. We would still be unable to fully express our gratitude to You, ADONAI our God and God of our ancestors... Akdamut – R. Gesa Ederberg Tikkun Shavuot Page 2 of 7 Creation of the World ֲהַדר ָמֵרי ְשַׁמָיּא ְו ַ שׁ ִלְּיט בַּיֶבְּשָׁתּ א The glorious Lord of heaven and earth, ֲהֵקים ָעְלָמא ְיִחָידאי ְוַכְבֵּשְׁהּ בַּכְבּשׁוָּת א Alone, formed the world, veiled in mystery. -
Chazzonos, As Presented Here for My Thesis, Represents Three Chapters
AN ABSTRACT OF THE THESIS OF Lyle RockIer for the degree of Master of Arts in Englishpresented on May & 1997. Title: Chazzonos. Redacted for Privacy Abstract approved: I Tracyba Chazzonos, as presented here formy thesis, represents three chapters of what will be a novel of thesame name. Chazzonos is about Hal Perimutter, a cantor, who at the outset of the novel, isresigning his position of twenty years. The novelprogresses as Hal decides where he will go after Mirthgate Temple and what will be meaningfulto him. Hal's decision is complicated by the opposing forces thatrun through him: the conservative side that is attracted to ritual, tradition, and, especially, themusic of the ancient and respectable art of the cantor; and the liberal,neo-60s, almost anarchic nature of his personal life. In these three chapters, the dilemmas of Hal's lifeare introduced. He deals with the implications ofan inheritance that has allowed him to resign; he struggles with the mystery ofa relationship that is developing between his homosexual son anda new lover; and he is challenged by his long-time girlfriend to make the ultimate commitment of marriage.Throughout the narrative, Hal is affected by his attachment to the musicof chazzonos (the cantorial art) and by memories of family and tradition,nostalgic as well as painful. The questions these three chapters introduceand thatwill develop as the entire novel progressesare those of love, tradition, obligation, and how one struggles with opposing forces in one'snature. CHAZZONOS Lyle Rockier A THESIS submitted to Oregon State University in partial fulfifiment of the requirements for the degree of Master of Arts Presented May 8, 1997 Commencement June 1997 Master of Arts thesis of Lyle Rockier presentedon May 8. -
Leonard Bernstein's MASS
27 Season 2014-2015 Thursday, April 30, at 8:00 Friday, May 1, at 8:00 The Philadelphia Orchestra Saturday, May 2, at 8:00 Sunday, May 3, at 2:00 Leonard Bernstein’s MASS: A Theatre Piece for Singers, Players, and Dancers* Conducted by Yannick Nézet-Séguin Texts from the liturgy of the Roman Mass Additional texts by Stephen Schwartz and Leonard Bernstein For a list of performing and creative artists please turn to page 30. *First complete Philadelphia Orchestra performances This program runs approximately 1 hour, 50 minutes, and will be performed without an intermission. These performances are made possible in part by the generous support of the William Penn Foundation and the Andrew W. Mellon Foundation. Additional support has been provided by the Presser Foundation. 28 I. Devotions before Mass 1. Antiphon: Kyrie eleison 2. Hymn and Psalm: “A Simple Song” 3. Responsory: Alleluia II. First Introit (Rondo) 1. Prefatory Prayers 2. Thrice-Triple Canon: Dominus vobiscum III. Second Introit 1. In nomine Patris 2. Prayer for the Congregation (Chorale: “Almighty Father”) 3. Epiphany IV. Confession 1. Confiteor 2. Trope: “I Don’t Know” 3. Trope: “Easy” V. Meditation No. 1 VI. Gloria 1. Gloria tibi 2. Gloria in excelsis 3. Trope: “Half of the People” 4. Trope: “Thank You” VII. Mediation No. 2 VIII. Epistle: “The Word of the Lord” IX. Gospel-Sermon: “God Said” X. Credo 1. Credo in unum Deum 2. Trope: “Non Credo” 3. Trope: “Hurry” 4. Trope: “World without End” 5. Trope: “I Believe in God” XI. Meditation No. 3 (De profundis, part 1) XII.